PleinAir Magazine February/March 2019

Get your PleinAir Magazine digital subscription today and join tens of thousands of artists and collectors who have joined a new plein air movement. Rooted in a deep history, each bi-monthly issue, edited by Kelly Kane, chronicles important events and spotlights today’s master artists, their techniques, the collectors who follow them, as well as the historic artists who came before them.

United States
Streamline Publishing
$7.98(Incl. tax)
$42.64(Incl. tax)
6 Issues

in this issue

1 min
plein air heritage

For any European painter of the early 19th century, the Italian landscape held an almost mystical appeal, luring the likes of a young Jean-Baptiste-Camille Corot (French, 1796–1875) with its natural beauty and antique monuments. The candor, naturalism, and seemingly intuitive structure of this sketch, made during his first trip abroad, attest to the artist’s mastery of plein air to capture the country’s marvels. Although Corot didn’t exhibit informal works like this one, he tried to infuse the paintings he began to show at the Salon the next year with the same vigorous sensibility. Back in France, he settled into an annual routine of travel and plein air sketching in spring and summer, followed by winter work in the studio to elaborate his sketches into exhibit-worthy compositions. Too old to be directly associated…

3 min
homecoming for plein air painters

One of the great benefits of being a part of the plein air family is the sense of community we all receive, especially if we’re involved with a local or regional painting group. It’s that community where we share ideas, learn from one another, and paint together, much like at our annual Plein Air Convention & Expo, which is like Thanksgiving for plein air painters. It’s a time to see our friends, learn from the best, and be a part of the world community of plein air painters. It’s also a time to grow as artists. And, of course, there is nothing quite so much fun as painting together and making history for having the largest number of plein air painters painting together in one spot. Every year, we do surveys…

2 min
making a commitment

Americans notoriously take fewer vacations, retire later, and have fewer days off than citizens of any other industrialized country. We live in a culture that seemingly glorifies busyness. So how do we justify taking time for ourselves — to do the things we want to do, not just the things we need to do? The answer is: We must. Scheduling time to engage in the hobbies or practices for which we have a passion is essential for our mental health — and if we also draw an income from those activities, it’s imperative for our financial and family health, as well. Wherever plein air painting fits into your life — as a hobby, a career, or an opportunity to add to your art collection — it’s important to carve out time for…

1 min
albert edelfelt (finnish, 1854–1905)

Best known for his portraits of royalty and high society patrons, Albert Edelfelt developed a lifelong love of plein air painting in Paris, where he studied under Jean-Léon Gérôme at the Ecole Nationale des Beaux Arts. Although he spent 15 years in the City of Lights, it wasn’t until he returned to Finland that he found inspiration for the bulk of his plein air work — having completed only one large outdoor painting in all his time in France. In 1879, the artist’s mother rented a summer villa in Haikko, near Porvoo, where he was born. Visiting her there, Erdelfelt fell in love with the archipelago and its residents, finding them an inexhaustible source of subject matter. In all, he spent 26 summers there, in between winter visits to Paris and…

3 min
on the road

New places and experiences thrill the senses and spark inspiration. Here, 15 intrepid artists share the scenes that called to them during recent travels. From unexpected views of iconic landmarks to revealing looks at unfamiliar terrain, they take us along for the ride.…

10 min
painting without purpose

Last October I did something I rarely do. I booked two plein air events almost back-to-back — one on Cape Ann, above Boston, and the other in San Angelo, Texas, with one week in between. Although I enjoy these types of competitions, where I can paint a lot of work within a short period, there are times I want to jump off the merry-go-round and be less mercenary. Why? Because art is not about producing product on demand. At its finest, it is about capturing life as directly as possible, and sometimes I lose sight of that. I decided to refresh myself between my trips to Cape Ann and San Angelo by visiting Monhegan Island. The tourist season would be over, and I could paint for five days without an agenda.…